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Amplifying Islam in the European Soundscape.Indb Arab, Pooyan Tamimi. "A History of Public Worship: From Procession Prohibition to Amplified Azan." Amplifying Islam in the European Soundscape: Religious Pluralism and Secularism in the Netherlands. London: Bloomsbury Academic, 2017. 47–78. Bloomsbury Collections. Web. 29 Sep. 2021. <http://dx.doi.org/10.5040/9781474291460.0008>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 05:04 UTC. Copyright © Pooyan Tamimi Arab 2017. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 2 A History of Public Worship: From Procession Prohibition to Amplifi ed Azan If solemn assemblies, observations of festivals, public worship be permitted to any one sort of professors . neither Pagan nor Mahometan, nor Jew, ought to be excluded from the civil rights of the commonwealth because of his religion. John Locke, A Letter Concerning Toleration, 1689 *** For a greater understanding of religious pluralism in the Netherlands, we need to embed the call to prayer in a broader cultural history of public religion. To do so, I compare the emancipation history of Dutch Catholics with that of Dutch Muslims, and observe that Catholic and Muslim emancipation are juridically and historically connected. Aft er dealing with the public debate over what can be named the Catholic-Muslim emancipation analogy, the Protestant history of opposition to public Catholic rituals is considered in order to understand the historical background to the emancipation of Dutch Muslims today. First, I describe how the Procession Prohibition (processieverbod ) for Dutch Catholics came into existence in the nineteenth century. I then explain how the Procession Prohibition came to be abolished as recently as 1988 with the implementation of the Public Manifestations Act. Leading up to this change were court cases which resulted in a juridical negation of the Catholic right to processions, followed by parliamentary debate, and fi nally constitutional change. Th e formal end of the prohibition on processions not only concluded a history of Catholic- Protestant enmity, but also signaled the arrival of religious newcomers. A point of particular interest for our purpose is that during the debates in the 1980s, there were explicit references to the right to the Muslim call to prayer, and this right was eventually codifi ed in law. Th at is why this chapter focuses on the Catholic procession and the Muslim call to prayer, rather than on Muslim processions in the Netherlands, which are very rare. Furthermore, there is the AAmplifyingmplifying IIslamslam iinn tthehe EEuropeanuropean SSoundscape.indboundscape.indb 4477 111/15/20161/15/2016 88:21:17:21:17 PPMM 48 Amplifying Islam in the European Soundscape important analogy between the azan and Catholic church bell ringing, which I also discuss, because it reveals the falsity of the popular narratives of church bells as inherently Dutch. Finally, I provide an overview of the history of the Muslim call to prayer in the Netherlands. Th e consequence of the emancipation of both Catholics and Muslims in the Netherlands is that public religion has become much more “ accepted ” in recent Dutch history, not in a maximalist moral sense but in the minimal legal sense of indiff erence to what religious others do publically. Th is may strike the reader as strange, given the intense criticism — if not outright racism — against European Muslims in the last few decades. Yet it is the historical reality. In Chapters 3 and 4, we will see that, despite protests by politicians and citizens, public Islam has acquired more space today than in recent times, while this historical chapter reminds us that the emancipation of religious groups can proceed alongside persistent discrimination and mutual animosity. Before delving into the past, however, I begin with two stories of public religion today, one about a procession and the other about an amplifi ed azan. Two stories of public religion Th e Passion In 2011, the small town of Gouda in the province of South Holland celebrated Easter with a Christian procession in its streets. During the event, which was called Th e Passion — the English term was used — and has been repeated annually ever since, a 6-meter long cross was carried through the town as a crowd watched a live outdoor musical performance; people at home could follow the proceedings on national television. Participants ’ responses were positive and viewer ratings were good, 1 so the following year Th e Passion was held in one of the Netherlands ’ major cities, Rotterdam. Th e event attracted visitors to the city and reached more than a million viewers at home. 2 It was an unusual public display of religion in the Netherlands, and participants frequently expressed their surprise to the television presenter that such a procession was possible at all. In 2013, Th e Passion was held in Th e Hague, the political capital of the Netherlands. Th e organizers included the Evangelische Omroep and the Omroep Rooms-Katholiek Kerkgenootschap, two Christian media platforms, as well as the Dutch Protestant Church and the Roman Catholic Church. Th e Netherlands Bible Society and local municipalities, including the police, were AAmplifyingmplifying IIslamslam iinn tthehe EEuropeanuropean SSoundscape.indboundscape.indb 4488 111/15/20161/15/2016 88:21:17:21:17 PPMM A History of Public Worship 49 also co-organizers. Th is time, it reached over two million viewers at home and attracted thousands to the procession at night.3 Th e same long cross was carried throughout the city, glowing white in the dark. Th e musical, with spectacular lighting eff ects and amplifi ed sounds, was staged in a modern, urban, and everyday setting, accompanied by kitschy pop music in Dutch that was familiar to the crowd. Th e stage was based at the Hofvijver, a pond in the city center adjoining the medieval building complex of the Binnenhof that houses the Dutch Parliament. J ö rgen Raymann, a famous television presenter of Surinamese descent, was the evening ’ s host. “ Good evening Netherlands, ” he said, and the crowd consisting of young and old cheered. “ We are here at the Hofvijver, the center of power of the Netherlands. ” If Jesus were here today, would he have clashed with the established order, Raymann asked, “ or would he have been ‘ tolerated ’ ( gedoogd ) in Dutch fashion? ” Th e procession had “ a special signifi cance this year, ” he continued, because Th e Hague was a “ city of peace and justice [referring to the UN ’ s Peace Palace and the International Criminal Court], a world city where diff erent nationalities, cultures, and faiths have lived together for centuries. ” Th e procession passed by the Peace Palace and went on from there toward Plein 1813, the square of 1813 with a monument that commemorates the victory against Napoleon and the subsequent establishment of the Kingdom of the Netherlands. A statue depicts King William I taking an oath to the constitution. Ironically, it was the same Protestant king who, in the early nineteenth century, initiated what came to be called the Procession Prohibition or processieverbod for Dutch Catholics. Th is did not matter; the square and government buildings indicated to viewers at home that the procession was part of the nation. Th e history of the prohibition was not mentioned, and the procession marched on to Palace Noordeinde, the current working palace of the Dutch monarch, before fi nally returning to the Hofvijver. Several politicians participated in the musical as actors, and Dutch police offi cers also played a part. Th e latter ’ s uniforms and cars, symbols of authority, were used as a metaphor for the soldiers of Rome. Th e police also accompanied the procession on motorcycles and on foot. In contrast, in the nineteenth century, authorities on horseback had used force to prevent Catholics from holding processions. Such aversion against a public display of religion seemed entirely absent in Th e Passion, a forgotten ghost from the past. And yet, a presenter following the procession told the television audience that she had never seen such a procession, and that she could see how special the event was for participants. When she asked one of the cross bearers why he was AAmplifyingmplifying IIslamslam iinn tthehe EEuropeanuropean SSoundscape.indboundscape.indb 4499 111/15/20161/15/2016 88:21:18:21:18 PPMM 50 Amplifying Islam in the European Soundscape there, he replied that he was a Protestant who wanted to be in the procession together with others. Th roughout the event, no connection was made between Catholicism and processions, which had been an ordinary association in the time of William I but also during much of the twentieth century. Moreover, a nonbeliever and a Muslim were also interviewed on television, to demonstrate the diversity of the crowd. A young lady marching expressed her thoughts about televising the procession in “ such a grand way ” to the presenter: “ I think it is very special. I think it is beautiful to show to all the people in the Netherlands, who are here or watching at home, that the cross still has meaning in our time. ” A student walking with the procession said that he had not expected it to have “ such an impact. ” Th ese surprised reactions testify to a past in which abundant processions were taboo, but in this case the story of Christ was told by overtly appealing to the senses through storytelling, music, and visual arts, and shared carrying of the cross. Th e evening ended with the fi gure of Jesus literally standing on the water of the Hofvijver, singing in glimmering light as the crowd cheered. Th e call to prayer in Terborg Umar Mirza and his television crew visited the Mimar Sinan Mosque of Terborg in 2012.
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